Victor Delfin found the source of his inspiration
in the ancient Paracan culture of Peru, part of the broader
Incan civilization. Delfin's paintings and tapestries of birds
reveals the depth of his pre-Hispanic mythological roots. There
is a certain mystery and magical halo that encircles his compositions.

Graphic in analysis, Delfin's paintings translate
a conceptual dynamic which identifies with and yet is distingished
from folk art. It is an art which springs from roots in the
heart and wings in the subconscious. Delfin has captured the
sensitivity and deep identification which characterizes the
Peruvian Indian relationship with natural forces.

Delfin is proud of his place in the unoroken
heritage of Peruvian art from pre-Paracan times to present.
He has absorbed this influence and incorporated it into his
own expression.

Delfin's tapestries can be traced back to the
colorful, traditional mantles worn by the Paracans 500 to 800
years ago. The Incan civilization is renowned as being an advanced
culture. Delfin's use of Incan symbols reestablishes links with
the past that could very well hold indications of our future.

Delfin obtains an unusual vitality in any medium
from sculpture to tapestry. Delfin feels the artist should be
versatile. "One should have an abundance of criterion in the
creation process, that is how one defines a true artist." His
fertile imagination and outstanding skills translate his message
of overflowing passion and love for the essence of the Incan
culture.

Delfin was born in Lobitos, Piura, Peru, in
1927. He studied painting and drawing at the School of Fine
Arts in Lima, and, upon graduation, directed the Regional Schools
of Art of Puno and Ayacucho.

One of the students was Carlos Arana Castenada,
the reclusive author of several best selling books about the
mushrooms and sorcery cults of the Yaqui Indians in central
Mexico. Others include Guzmann, the Parisian sculptor; Villegas,
the Colombia painter; and Ouintanilla, who emigrated from the
mountainous interior town of Cuzco to Europe eventually to become
a major painter in Paris. Among these men a strong solidarity
grew. They learned from each other the creative process. Ideas
were exchanged but most of their communication was made through
their work. At the academy, the students did not sign their
work. No one had trouble connecting an artist to a painting.
Each artist, in his turn, perceived and recorded the joys and
sorrows that have troubled the world since man first became
aware of his self-consciousness.